@article{article_656283, title={THE NEO-FOLKLORE STYLE IN A ROTARU’S TRIO FOR VIOLIN, PIANO AND CELLO “INO-2”.}, journal={İnönü Üniversitesi Kültür ve Sanat Dergisi}, volume={5}, pages={85–91}, year={2019}, DOI={10.22252/ijca.656283}, author={Djalilova, Natalia}, keywords={V. Rotaru,oda topluluğu,stil özellikleri,neo-folklor,polifonik teknikler}, abstract={<div style="text-align:justify;"> <span style="font-size:12px;">The piano Trio, the study of which is part of the dissertation research:” The features of the performance of the piano part in a cycle of three piano Trio “INO”, is discussed in this article.
The piano Trio, its meaning in the work of the author, the main stylistic, harmonic and rhythmic aspects are analyzed in this article. The connection with the neo-folklore trend in music and traditional genres in Moldavian folk music, the synthesis of traditional folklore with modern compositional techniques are revealed.
This article is intended to determine primarily the style features of this composition. It is aimed at analyzing the characteristic features of the neo-folklore direction, which is a paramount importance in composer’s creativity.
The Trio “INO-2” was created by the composer in 2004 based on the material of “Sonata for violin and piano”, dedicated to daughter Elizabeth. The Trio consists of two parts unequal in volume, Recitativ and Allegro scherzando. The second part is the dramatic and dynamic center of the work, the first performs a kind of prologue to it. The neo-folklorism style manifests itself in both parts of the trio. In the first part lexemes of folk genres of doina and ballads are found. This can be seen in the stanza form (5 stanza + Coda), in the rhythm rich in melismatics, in variation intonational tunes.
The modern technique of compositional writing is manifested in the appeal to the untacted rhythmic system characteristic of modern music of the late 20th and early 21st centures. The neo-folkloric style of the second part is accented by V. Rotaru in a generalized imitation of folkloric male dances, the clear sign of which is asymmetric and unequal rhythm. It includes a sequence of seven eights, two eights, six eights, four eights. Also manifests itself in the characteristics formula of a bass chord or in virtuosic passages sixteenth. The author’s appeal to imitation of a cymbal texture, which is most often performed in the piano part, should also be noted. The style of neo-folklorism in this composition harmoniously combines with both classical ensemble texture and innovative techniques of writing technique. In both cases, a variety of polyphonic techniques for combining piano and string instruments is playing an important role. “INO-2” received well-deserved recognition in the interpretation of professional performers – Inna Saulova, Nadezhda Kozlova and Olga Uhno – to whom it is dedicated.
Trio “INO-2” is a bright composition with imaginative contrasts, demanded in concert and teaching practice in Moldova and abroad.
In the article, in the context of development, the neo-folklore direction, which is one of the most bright style trends in Russian music of the second part of the 20th century, is studied. </span> </div>}, number={2}, publisher={İnönü Üniversitesi}